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2015 48 Hour Film Project Winners Announced

July 31-August 2, more than 30 teams did some incredible DIY flash filmmaking as part of the 48 Hour Film Project. Saturday night August 8, we screened their creations at the Indianapolis Museum of Art.  A four-judge panel selected these winners in 16 categories, and the audience weighed in too. Congratulations to all participants!

Best Film: Dessert, by Swipe Left Productions
Runner Up: Wonderful Neighbors, by The Collective Brain

Audience Choice, Group A: True A.I., by MUTT
Audience Choice, Group B: Dessert, by Swipe Left Productions

Best Directing: Bobby, by Team Dharma
Best Writing: Dessert, by Swipe Left Productions
Best Acting: Bobby, by Team Dharma
Best Editing: Wonderful Neighbors, by The Collective Brain
Best Cinematography: Companion, Inc., by ParaCinema
Best Sound Design: True A.I., by MUTT
Best Use of Character: Moroccan Coffee, by Jackson DOA Productions
Best Use of Prop: Moroccan Coffee, by Jackson DOA Productions
Best Use of Line: Dessert, by Swipe Left Productions
Best Graphics: Wonderful Neighbors, by The Collective Brain
Best Special Effects: Bobby, by Team Dharma
Best Musical Score: Ethereal, by I’m the Villain Films
Best Choreography: Second Chance, by JumpCuts
Best Costumes: Wonderful Neighbors, by The Collective Brain

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How a group of Indy writers & artists with Surrealist tendencies transforms into a socially engaged art collaborative

How a group of Indy writers & artists with Surrealist tendencies transforms into a socially engaged art collaborative

By John L. Clark

First of all — and mainly — Surrealism & various Surrealists are the main influence on Big Car. And like Surrealism, the origins of Big Car were literary. When I met Jim Walker and Anne Laker — a decade before we formed Big Car — we were all active in Indy’s “literary scene”. I published a Surrealist-influenced small press ‘zine called “pLopLop” (inspired by Max Ernst’s creature-character Loplop “superior of the birds”).

Jim Walker’s poetry appeared in issue #7 (1995). That same year, I met Anne Laker when we both read our poetry at a Fluxus event at the IMA to celebrate a massive exhibition by video artist Nam June Paik. Although it was not advertised as a Fluxus event it became one in the performance, as I had a friend fax my text and pLopLop promos via the machine made by Paik known as “The Couch Potato”. Over the years our paths crossed a few times and in retrospect I can see how certain events and collaborations led inexorably to the formation of Big Car. A multimedia happening at the Fountain Square diner with spoken word and short films projected or a similar happening at the Writer’s Center — the first of many times where various audio/video configurations were choreographed to enhance the environment. And when we finally had our own space in the Murphy Art Center, we knew how to make events memorable, our own modern versions of Dada festivals.

Jim’s Surrealist influence manifested itself first in his poetry and later in his collage work. Surrealism impacted my writing somewhat but I felt its influence most powerfully in methods of collaboration and transformation. I’d take paper and pens to parties and clubs and teach people how to play the Exquisite Corpse game with its infinite variations and possibilities for fun, creative exploration. Soon there were others who embraced the game and hosted Ex corps parties — we even came up with a new name, via invisible collaboration — and called them Flap Action Brain Splashes. Once other friends and acquaintances began to initiate these games, the communal spirit of Surrealism became real and palpable.

We recognized Fluxus as a playful, experimental nonacademic 20th century art movement but it wasn’t fully embraced by Big Car until we began to focus on socially engaged art. The Fluxus scores were distributed, performed and documented as part of Big Car’s “Year of Fluxus,” with performances at the State Fair and other unlikely venues.

An interview with Miranda July led me to “Learning to Love You More“, the book she co-authored with Harrell Fletcher. One first Friday I mentioned the book to Jim and a few months later — Mr. Fletcher was almost magically in Indy collaborating with Big Car on a Spirit and Place event — thanks to Jim’s knack for contacting creative folks and getting them involved with Big Car projects.

A Question of Influence: What is it? how does it work?
The mysteries of timing: Who influenced Big Car by collaborating with us?

Big Car never keeps our influences secret. If we’re into something, we will let you know about it (and we’ll find ways to get everyone involved). Our earliest multimedia events embodied the influences of Dada and Surrealism with spontaneous music performances, poetry readings, art displays and film projections. Our most recent adventures are in the realm of socially engaged art with an emphasis on creative ways to improve communities and inspire individuals. We’ll continue to explore these and other Big Car projects, influences, adventures and collaborations via essays, interviews, memoirs, archival material and documentation. Stay tuned.

Visit this page for a comprehensive list of Big Car’s influences.

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Social practice placemaking

Social practice placemaking

AAG 01

By Cara Courage
(Occasional) Thinker in Residence with Big Car

This April, I presented a paper on my Indianapolis case study, Big Car, at the 2015 meeting of the American Association of Geographers in Chicago. View the presentation here.

With 9.5K delegates and sessions that span all forms of geography, the conference was as busy and buzzing as you’d expect. The arts had a healthy presence in the programme and my paper, “Moving beyond creative placemaking: the micropublic of a social practice placemaking project” was presented as part of the Creative Placemaking and its Micropublics. The session was convened by Martin Zebracki, University of Leeds, and Saskia Warren, University of Manchester; fellow speakers were Micheal Rios, University of California, and Annette Koh, University of Hawaii at Manoa.

My time with Big Car had been instrumental in creating the term social practice placemaking – whilst its work had undoubtedly had an economic impact in Indianapolis, its approach is grounded in that of social practice art and its associated ethos, aims and outcomes. Ash Amin’s micropublics of the title was used as a theory to explain the agency of such projects to galvanise people around arts and place and this was framed in the example of my Indianapolis case study, Big Car.

I mention in my paper the new projects Big Car is starting on the southside; and this was made possible by the generosity of Big Car once more in hosting me for a research visit before the AAG conference.

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Big Car featured on The Art Assignment on PBS Digital

Big Car featured on The Art Assignment on PBS Digital

Play the game created by Jim Walker and Florian Rivière here. Be sure to share your adventures on Twitter. There’s great documentation of what people are doing on The Art Assignment’s blog.

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Make a film in 48 Hours! Registration Opening Soon

Make a film in 48 Hours! Registration Opening Soon

The Indianapolis 48 Hour Film Project is produced by Big Car. It is open to professional, amateur and first-time filmmakers in Indianapolis. It is awesome. You should do it.

On Friday night, July 31, all registered teams meet to get a character, a prop, a line of dialogue and a randomly-chosen genre, all to include in your movie. [Animators and puppeteers welcome!] Then you have exactly 48 hours to make it all happen—from story to soundtrack to editing. Turn it in. High-fives. Take a long nap.

All on-time films screen to cheering audiences at the Tobias Theater at IMA the evening of Saturday, August 8. One winning team from Indianapolis will screen their film at the international Filmapalooza in Hollywood.

The sooner you sign up, the cheaper it is, and you can get started recruiting cast and crew. Prices are per team, not per person. Registration opens May 27, 2015 at 48hourfilm.com/indianapolis. Register before July 6 and pay just $140. Between July 7–July 21? $160. July 22–July 31 = $175

Join the 48 Hour Film Facebook group to keep up to date, network and share your experiences along the way!  Questions? E-mail email hidden; JavaScript is required.

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Be Gutsy: GUTZINE … call for submissions

Be Gutsy: GUTZINE … call for submissions

By Niina Cochran, Big Car artist-in-residence

Gutzine is a new publication that will be distributed via the bathroom gallery at The Show Room, the Loo-vre, and possibly in other bathrooms near you! I look forward to seeing your ideas and please feel free to ask any questions!

DEADLINE: May 18, 2015

Want your work to be seen but have a hard time getting people to look? Put your work where people can focus, the bathroom. Big Car’s new bathroom and bathroom lobby gallery focusing on digestion, The Loo-vre, seeks a call for submissions for bathroom reading material focusing on bodily functions.

For inspiration visit the Loo-vre at The Show Room (3739 Commercial Drive) or check out some pics at the Flickr page above.

Submit in digital format to email hidden; JavaScript is required. This can include, but is not limited to poetry, photography, drawing, stories etc.

SPECS: The final product will be in standard zine format using letter paper (8.5” x 11”) folded in half, your piece can be single page or spread. Color or BW, 300 DPI, JPG, PDF, or DOC. Please submit materials with your name and the title of your piece. ex: yourname_title.jpg

Thanks!

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Pop-up locations and future moves

Get a taste of Big Car’s things to come from Big Car Executive Director Jim Walker…

Video by Kurt Nettleton

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TEDxIndianapolis draws 1,000 people

TEDxIndianapolis draws 1,000 people

(above) Holly Combs gives a talk about letting go of labels at TEDxIndianapolis

Thanks to all the presenters, sponsors, partners, volunteers and attendees to TEDxIndianapolis 2014!  A stimulating day of Big Ideas.  Explore the photos on Flickr and Instagram, and the ongoing conversation on Facebook and Twitter.  View 21 videos of the talks and performances on YouTube here!

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Big Car 2014 in Review + Looking Ahead

Big Car 2014 in Review + Looking Ahead

by Jim Walker, Big Car Executive Director

This year was a busy but successful one for Big Car. It started with our three-year pop-up socially engaged arts experiment, Service Center for Culture and Community, closing after a market-rate tenant leased the space. In the middle of relocating and expanding our work to include Downtown Indianapolis, we accomplished much, including:

• Three major public events attracting 5,000 people (the TEDxIndianapolis conference at Hilbert Circle Theatre, the Art in Odd Places public art experience Downtown, and No Brakes 10-year Big Car retrospective at University of Indianapolis).

• Pop-up cultural spaces on three sides of town lacking easy and free access to cultural opportunities (Lafayette Square, Far Eastside, Near Southside) including a new sound-art gallery curated and organized by one of our artist fellows, John McCormick, a recent Herron School of Art MFA graduate.

• Three major murals in Central Indiana and nine more nationwide — all created in collaboration with community members, involving more than 2,500 people in making art, and helping beautify a variety of public spaces.

• Design work for 15 fellow nonprofits, including a virtual historic tour of the Athenaeum — and logos and other materials for Ensemble Music Society, iMOCA, White River Festival, Garfield Park Neighbors Association, Reconnecting to Our Waterways, and Youth Power Indiana.

As part of a NUVO Newsweekly cover story in September highlighting Big Car’s 10 years of working Indianapolis, writer David Hoppe called Big Car artists “impresarios of the imagination,” using our creative expertise to “benefit people where they live.” This, as always, continues to be our goal. Read the rest of Hoppe’s story here.

In 2015, the theme of the annual TEDxIndianapolis big ideas conference we lead will be “Keep it Simple.” We plan to use this as a guiding principle for our approach for 2015. One way we plan to simplify is to focus more of our programming this year on a particular neighborhood — Garfield Park just south of Fountain Square. Look for exciting details soon on a new home base we’re establishing there. A good portion of our work in the early part of 2015 will be focused on launching this location while also advocating for neighborhood-wide improvements and furthering our relationships with community partners there.

We’ll continue pop-up programming and projects in Lafayette Square and the Far Eastside, including the summer-long partnership with the Indianapolis Public Library that pairs our mobile art-experience unit — the DoSeum — with the Bookmobile, making stops at apartment complexes in very challenged areas of the city. There, Big Car artists make art with young people and share free, healthy snacks. We call this entourage Fun Fleet and we look forward to another summer of fun in these neighborhoods.

And we’ll again bring a few major citywide projects to Indianapolis in 2015. The biggest is a partnership with the City of Indianapolis to bring arts programming to Monument Circle from June to September. Funded by a National Endowment for the Arts Our Town awarded to the City and Big Car, this work — also in partnership with Art Strategies — will include temporary, site-specific cultural programming that helps the community reimagine what can happen at the Circle.

We’ll also further expand our work to make public sculptures using salvaged honeysuckle wood removed from waterway areas around the city. We’ve created a system for volunteers to clear the invasive honeysuckle, which blocks views of our waterways and kills native species, and then repurpose it as building material for chairs, benches, arbors, and other sculptures. Our artists work with volunteers, including young people from the TeenWorks program, to design and collaboratively build the pieces, which are often placed in public areas near the waterways.

Our audience in 2015 will continue to be a blend of primarily lower-income residents who don’t have easy access to art, and an arts audience (including many local artists) that continues to support Big Car and our work. We believe connecting people who are newer to the arts with existing arts supporters and artists is crucial to expanding the arts audience in Indianapolis. And we believe involving people in making art helps them better connect with it and appreciate it.

All of the artists at Big Car see working with people to improve the quality of life as our artistic practice. It’s not a side outreach program. It’s not something we do for a living, begrudging, while we wish we were doing our art. While many of us still make other kinds of art, our work with people is integrated with this practice. And our personal passions — the issues that mean the most to us — are integrated into our approach to the work we choose as an organization.

What we strive to create at Big Car is a better world, starting with our own community and our own neighborhoods. We use the tools and the power of art to help people become more culturally and creatively inclined, happier, healthier, more active and engaged, and better connected to each other in an increasingly divided world. That’s our art, as it should be. And, ultimately, it’s everybody’s art.

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Ladders Up: Thoughts on Social Practice Art

Ladders Up: Thoughts on Social Practice Art

By Anne Laker 

“Social practice art” is a term we use to describe Big Car’s work: creativity in relation to making the community better. Social practice art comes in many forms. It may address social justice issues head-on. It might offer experiences to participants that end up having healing benefits. Or it might focus on the built environment and creative placemaking. All position the artist as creative problem solver, existing in real-time relation to people or place. All treat people as collaborators in the making.

This year I had a chance to attend two conferences related to social practice art. Said author Lewis Hyde—who spoke to a full house at the School of the Art Institute of Chicago at the A Lived Practice symposium—an artist is “a skilled host of our collective consciousness.” It’s even more true in the world of social practice.

Diverse examples of social practice art include:

  • A Virginia artist named Charlie Brouwer I met at the Open Engagement conference in Queens, NY last May asked the citizens of a struggling working class community to loan him their ladders. He made a huge sculpture of them (with clear metaphoric power).
  • A team of artists strapped mini cameras on little boats and invited people to pilot them to see beneath the surface of the polluted waterway in New Town, NY.
  • Artist Ernesto Pujol was asked to perform a ritual cleansing of a traumatized historical site in Hawai’i.
  • In the 1970s, Mierle Laderman Ukeles asked to become the artist-in-residence in the New York Sanitation Dept., engaging workers as collaborators in street-weeping dances and strapping mirrors on trash trucks.
  • Behavioral artist Marcus Young works for the City of St. Paul engraving hundreds of poems in sidewalks.
  • Last week, Big Car hosted a visit from Dawn Weleski, an artist who sets up new forms of dialogue around conflict and violence, often using food and music as tools for connection.

The “why” is clear. Social practice art is a creative response to the challenges we face in civic life: a lack of beauty and connectedness, environmental degradation, crime, historical memory loss, and diminishing democracy. The artist catalyzes, and then convenes people to remember, recover, re-make or make. Not simple to do, but potentially profound. Many questions emerge:

  1. What prepares an artist to do work that involves people in the most transformative way?
  2. If listening and witnessing are key to social practice art, how do you know what to do with all that vulnerable information?
  3. Can an art project or organization change the way we live in relation to each other?
  4. Is it relevant to ask about the difference between artwork and social work, as the artist works to curate society?
  5. Is creating unity and a sense of belonging the goal of social practice art? (so says Ernesto Pujol).  Leaving a place or a person in better condition than you found it?

My gut feeling is that social practice art comes down to listening and observing, and then designing an experience or intervention in response. A difficult and delicate act, well worth trying. An exhibition that is never over. A ladder toward a better place of being.